I’m often asked, “What does your typical day look like?” In an attempt to answer this difficult question, I met up with Morgan Spurlock’s film crew for an episode of “A Day In The Life.” The full Friday we shot (I reserve Fridays for in-person meetings) reiterates a point I’ve driven home before: The 4-Hour Workweek is, and always has been, about using time optimally, not being idle. It also shows how much I love my POS VW Golf, which is having its 10th birthday soon. To clarify the intro, here’s a mostly complete list of start-ups I advise and have invested in [UPDATE 2014: Here is the most complete list of all my startups, which is kept up-to-date.]: About.me (acquired by AOL) DailyBurn (acquired by IAC) Milk (acquired by Google) Posterous (acquired by Twitter) Foodzie (acquired by Joyus) Uber (The Escalade in the above video was via Uber, which I use whenever parking will be a hassle.) Schematic Labs (makers of SoundTracking)

Central Kitchen Restaurant (press) Other investments, including late-stage and publicly traded, include: SimpleGeo (acquired by Urban Airship) Digg (acquired by Betaworks) Basis (acquired by Intel) Would you like to work together? If so, watch the “Advise This!” video below and tell me about your company in the comments, ideally in 200 words or fewer. Stats are always helpful. Look forward to checking it out. In the meantime, I have to wrap up The 4-Hour Chef! It’s shaping up to be a fun one… WellnessFX Competition – Would you like to spend 30 minutes with me? I’d love to learn what you’re up to and see if I can help. WellnessFX, featured in the above episode, is sponsoring a giveaway for six 30-minute slots. Click here to learn more. SXSW – “Advise This” Panel – So, what do start-up “advisors” do, exactly? How do you recruit A-listers to your cause? Or, better yet, how do you assemble and leverage the *right* team? I

n the below panel, Gary Vaynerchuk, Tony Conrad, JR Johnson, Chase Charvis, and I discuss the relationships between founders, investors, and advisors in start-ups. You’ll recognize the now familiar “14 minutes into my 15 minutes…,” which I say to keep my head from getting too damn big. It’s a Seneca thing: Posted on: April 24, 2012. Please check out Tools of Titans, my new book, which shares the tactics, routines, and habits of billionaires, icons, and world-class performers. Ijiro dreams of sushi new yorkert was distilled from more than 10,000 pages of notes, and everything has been vetted and tested in my own life in some fashion. Tfeng sushi menu hudson mahe tips and tricks in Tools of Titans changed my life, and I hope the same for you. Csushi grade fish oceanside

lick here for sample chapters, full details, and a Foreword from Arnold Schwarzenegger!Triumph of the Will October 5, 2012   Subscribe What are some movies that deal with the theme of self-discipline? "Human beings need flattery; otherwise they do not fulfill their purpose, not even in their own eyes. And both the present and the past contain much that is beautiful and noble which, without due praise, would have been neither noble nor beautiful."jiro dreams of sushi canon "He has painted her exactly as she is, like a middle-aged whore. juego sushi cat honeymoonIt is really like her, diabolically so. sushi grade fish publixThe voluptuous face with the heavy eyelids and the vague lustful smile, everything is like her."

"We dwarfs have no homeland, no parents; we allow ourselves to be born of strangers, anywhere in secret, among the poorest and the most wretched, so that our race should not die out." "Love is something which dies and when dead rots and becomes soil for a new love. Then the dead love continues its secret life in the living one, and thus in reality there is no death in love." Coming from comedy magnate Judd Apatow — indeed, the first time he’s created a show (here, with Paul Rust and Leslie Arfin) since “Undeclared” — “Love” has more laughs in it than “Flaked,” a similarly California-set comedy-drama that debuted almost simultaneously. It’s a much better show, certainly, but one that shares a certain sense that it might have turned up a little late at the party, and doesn’t quite live up to its promise, at least after its first run. Based loosely on Rust & Arfin’s own real-life courtship, it tells the story of the L.A. set romance between Gus (Rust), an on-set tutor who’s been freshly dumped, and Mickey (Gillian Jacobs), a troubled radio producer.

The show is deceptively formally ambitious, taking the rom-com and stretching it out in slow-motion, so that the romance moves at something of a crawl, with each episode focusing on a particular ritual of dating, from the meet-cute to waiting for a text to the first date. And it’s got plenty of insight, particularly when it comes to the main characters: Rust finding nuance in a ‘nice guy’ who’s much less nice than he thinks he is, and Jacobs proving a far more interesting trainwreck than Amy Schumer in Apatow’s film of the same name. But the supporting characters are, with the exception of Claudia O’Doherty’s charmingly upbeat flatmate, unmemorable, the laughs not entirely frequent, and there’s the occasional odd misstep, like the Andy Dick episode, which sticks in the craw given his history with alleged sexual harassment and Apatow’s open (and laudable) regular focus on Bill Cosby’s actions. But like several other Netflix shows, the biggest problem is that its slo-mo conceit, while making it stand apart, just makes it feel dragged out and bloated, especially when others shows, most notably “You’re The Worst,” have covered the same territory recently, and with more consistent greatness to it.

19. “Grace & Frankie” If they’re going to be truly massive, Netflix need to lure older audiences as well as millennials, and “Grace & Frankie” was their first attempt to lure your parents to subscribe as well as your friends. From, in part, the mind and pen of Marta Kauffman, co-creator of “Friends,” it sees two well-to-do women approaching older age, cosmetics titan Grace (Jane Fonda) and art teacher Frankie (Lily Tomlin), brought together when their husbands (Martin Sheen and Sam Waterston) announce that they’re not just law partners, they’ve also fallen in love with each other. As you might imagine, the biggest draw here is the cast: Tomlin, Fonda, Sheen and Waterston are all megastars, and all ace it here, able to spin even the weaker material into something that can draw a laugh. Their energy carries the show throughout, making it rarely anything less than a pleasant watch. But the show’s caught awkwardly between eras, its written rhythms that of a 90s mid-camera sitcom aiming for gags above all else, its direction and tone that of a more contemporary dramedy.

That clash can sometimes be an interesting one (see below), but here it feels like an awkward fit, particularly because the scripting spreads the material so thin, with not just Grace, Frankie and their husbands in the spotlight, but also various children, few of whom are ringers to the extent that the older generation are. The show’s look at rebuilding a life in your 70s is a refreshing one, and it’s a sweet-natured, compassionate show in its way, even if it defaults to big broad bawdy gags while shying away from any real suggestion of non-hetero sex. But so far — the second season arrives shortly — it’s been a fairly disposable pleasure at best. Cookery-themed TV is undoubtedly a big deal — there are entire networks devoted to them — but they’re generally not seen as art, but as disposable, eternally disrespected filler for people stuck at home. Netflix have clearly been on a mission to redeem the form, between “Cooked” and flagship food show “Chef’s Table,” but while the latter’s a slight improvement on the former, it’s not yet reinvented culinary television.

Hailing from “Jiro Dreams Of Sushi” director David Gelb, and very much in the mold of that earlier film, the show’s first season (a second is imminent, and two more have already been commissioned) looks at a different culinary superstar in every hour-long episode, from Michelin-starred Italian legend Massimo Bottura to sustainable Swedish genius Magnus Nilsson. Few are necessarily household names even to casual U.S. foodies, and the international focus of the picks is pleasing, avoiding some more famous and obvious picks in favor of inventive and little-known cooks. And it looks beautiful, with endless slo-mo shots of tantalizing food making it feel like a less murder-y episode of “Hannibal,” and foodies will undoubtedly get a kick out of the access to these cooks and their processes, painting them as true artists. But, so far, the picks have been rather insubstantial, if we’re being honest: not many of the subjects are terribly charismatic, and few of the films have a point of view beyond ‘look at this chef and their delicious and beautiful food.’

Those looking for food porn will be in heaven, but it feels a little like a flavored foam: pleasant enough, but dissipating pretty quickly when it isn’t paired with something more substantial. We’d recommend that foodies instead check out PBS’s “Mind Of A Chef,” which is available on Netflix and is done with a lot more wit and substance, even if it isn’t as picture-pretty. Bowing just last month, “The Ranch” almost seems purpose-designed to be repellent to the blogerati: it’s almost defiantly uncool, with co-creator Don Reo having credits stretching back to “Laugh-In” and “Sanford & Son” (he also co-created “Blossom”), a firmly red-state setting, an unfashionable multi-cam setting, Ashton Kutcher in the lead role. But it’s also a rather pleasant surprise, a show that, though it has plenty of flaws, joins the recent like of “Mom,” “The Carmichael Show” and even “Horace & Pete” in something of a critical revival of the stagey multi-camera form.

The premise doesn’t exactly reinvent the wheel, with Kutcher as a former college football player who moves back in to his family’s Colorado ranch with his father (Sam Elliott) and brother (Kutcher’s “That 70s Show” co-star Danny Masterson), while mother Maggie (Debra Winger) lives nearby. Like, say, “Fuller House,” this is a sitcom in the old-school, with a laugh track, pop-culture gags and innuendo. But the show uses the freedom of Netflix to give a little more room to breath (and add some swearing), with an unlikely psychological realism and low-key manner that’s rather disarming. At its best, the show’s sincerity about its characters and their lives (particularly when brought to life by Elliot and Winger, and an impressive dramatic turn from Kutcher), and its boldness in grappling with the subject of failure, something usually done in British comedy rather than American ones, make it feel surprising and distinctive. And while it frequently dips into its worst impulses, “Two And A Half Men” style leering or familiar set-up/punchline combos, its better qualities are more than enough to make it worth sampling at least.

16. “F is for Family” Bill Burr‘s animated comedy is by no means bad, it just never quite manages to carve out a distinctive niche for itself. Despite a strong voice cast, including Burr himself, Laura Dern, Justin Long, Sam Rockwell and more, and an impressively hard-R approach to vulgarity, it has a mountain to scale to become a really vital addition to the already overpopulated category of “unprepossessingly animated suburban dysfunctional family sitcoms.” Its 1970s setting might seem at first to be its chief point of differentiation from the likes of “The Simpsons,” “Family Guy,” “Bob’s Burgers,” “King of the Hill,” and even Netflix’s own much better and more surreal “Bojack Horseman” but really its raison d’etre is to tear into “political correctness” in much the same way that Burr’s standup comedy does — though whether setting it in the unenlightened 1970s is a boon or a burden to that aim is unclear. It does mean however that it can boast some nice period trappings in new-fangled answerphones, Tupperware obsessions and swinging sex parties (held by Rockwell’s laid-back Adonis next-door neighbor).